This
article is copyright 2004 by Antonio J. García
and originally was published in the International Trombone Association
Journal, Vol. 32, No. 3, July 2004. It is used by permission of
the author and, as needed, the publication. Some text variations may occur
between the print version and that below. All international rights remain
reserved; it is not for further reproduction without written consent.

The transcription itself
is not reproduced here, as it was only licensed for one-time publication
in the ITA Journal.

Frank Rosolino &
Carl Fontana: Together on Rock Bottom

by Antonio J. García

Associate Jazz Editor, ITA Journal

In 1975
trombonist/composer Bobby Knight began writing and gathering music for a new
band he envisioned: The Great American Trombone Company. The ensemble made
its debut in 1977; and though it packed the club on word-of-mouth advertising
alone, it did not reappear until the start of an ongoing gig at Donte’s
in North Hollywood, California in April 1978.1 The success of this
trombone-plus-rhythm ensemble led to live recordings at the club in June 1978
that became the Sea Breeze vinyl BOBBY KNIGHT’S GREAT AMERICAN TROMBONE
COMPANY: CREAM OF THE CROP, now available on the Jazz Mark 116 CD of the same
name (105 North Newton, El Dorado, Arkansas 71730, or from your favorite CD
retailer).

Aptly titled,
this crop included the rhythm section of Lou Levy (piano), Chuck Berghofer
(bass) and Frankie Capp (drums) interacting with some of the finest jazz and
studio trombonists around: founder Knight plus Charlie Loper, Lew McCreary,
bass trombonist Phil Teele and two jazz legends who had never shared a complete
album together: Carl Fontana and Frank Rosolino.2 They were inspired
by the contributions of the accomplished arrangers Bob Florence, Gordon Brisker,
Billy Byers and Knight. This CD captures the group in the very best of the
live club-date recording tradition: “There are no intercuts, edits or
electronic gimmicks to ‘enhance’ the music. What you hear is what
we played...with no mixing after the session.”3

RockBottom
serves as an ideal vehicle for the irresistible pairing of Fontana and Rosolino,
who not only perform bluesy bebop solos but then trade improvisations as well.
As they do so, they display so many expressive “tools of the trade”:
strict versus loose eighth-note feel, variety of articulation, dynamics, motivic
use, pace, lyricism, pitch-variance and tone color along with the added elements
of interplay and humor. The landscape RockBottom
provides adds one more, very significant element to their musical frolick:
the solo section alternates between Bb minor and Bb major (or dominant)
blues choruses. In order not to crowd the transcription of these solos, the
exact chord changes “comped” by the rhythm section are not notated;
however, the basic progressions are
shown in the accompanying sidebar. These are altered at the will of the players,
most substantially in Frank’s third (and minor) chorus.

Frank’sSolo

Rosolino
begins the solo section; and right from the start we can see his willingness
to “go with the flow” of the tune he’s playing on: his opening,
triplet motif quotes the material of the ensemble interlude that has led to
his solo. And recognizing the bucket-muted ensemble melody that precedes his
solo, his choice of using a buzz-mute allows him to shade his projected mood
that much more, offering a viewpoint that at times seems earthy or sarcastic,
other times as playful as a kazoo and at others downright joyous, often coinciding
with the alternating major or minor quality of the blues changes.

Any Rosolino
solo will likely include many rhythms not able to be literally represented
on paper; so markings of “lay back” or “ahead” are
common here, as well as alternations between swung eighths and straight ones.
Such rhythmic fluidity is perhaps his most notable trademark, and the clarity
within his abrupt streams of rapid notes is truly amazing.

He begins
by toying with the Bb blues scale, implementing many long note-values, thus
leaving room for growth later on. His first chorus has a rather earthy quality,
combining that scale, the minor-based changes and the buzz-mute (mm. A-12).
But with the arrival of the second chorus, this one in major, a brief passage
of swinging eighths leads directly to an eight-bar assault of sixteenths (mm.
16-23), somehow each light and seemingly effortless, blending three, four
or five notes together within a beat in a variety of different ways, including
passing in and out of a cross-rhythm (mm. 19-20). The last sixteenths spill
out into a long tone that crosses over into his third chorus.

This chorus
(m. 25) is minor, and Rosolino returns to treat the blues similarly to his
first chorus. Several simple phrases are followed by a set of sixteenth-note
cross-rhythms (mm. 30-32) before returning to a groove that continues into
his fourth chorus (m. 37), a major-based set of changes. Those fluid sixteenths
return again (m. 40), bringing on a wave of notes one could perhaps best describe
as “skittish” (such clean, staccato notes while dividing the beat
four or five ways!) As contrast, Frank finishes his solo by “laying
back” on a pair of eighth-phrases (mm. 46-48) and diving into his low
range.

Carl’sSolo

Carl Fontana’s
entrance falls on a minor-oriented chorus, while pianist Lou Levy echoes Gil
Evans’ orchestrational figures from Miles Davis’ Summertime rendition (m. 49) and Frankie Capp’s sixteenth-based
ride cymbal (rather than triplet-based) continues to lock in so well with
Chuck Berghofer’s bass. Carl responds by playing in a rhythmically loose
fashion, likely inspired by Frank. Fontana’s triplet-eighths (m. 50)
drag into delayed eighths, then rushed eighths (m. 51). The phrases that follow
possess great rhythmic flexibility and at times bear close resemblance to
Frank’s style.

One identifying
factor is the syncopated-sixteenth rhythm appearing on beats three and four
of bar 58; this recurs several times in Carl’s solo but is not present
in Frank’s by this chorus. Fontana “lays back” that figure
right over the double-bar line into his second chorus, one in major (m. 61).
This chorus contains a Fontana trademark: the rapid, fluid, ascending and
descending arpeggio (mm. 67-68). The syncopated figure (from m. 58) returns
to open his third (minor) chorus and segues to a six-bar phrase that begins
as his first sustained display of speed, then gradually tapers down into quarter
notes (mm. 74-79). This syncopated figure is utilized several times before
connecting to his fourth (major) chorus and a quote from circus music to invite
laughter from the audience (mm. 85-86).

The phrase
that follows splits the beats at will into three, four, five, even six parts
(mm. 87-90). A brief respite (mm. 90-92) is followed directly by nearly a
chorus and a half of double-time figures (mm. 92-109) that include parallels
to previous measures (such as mm. 100-102 compared to mm. 85-86, mm. 103 such
as m. 91) to complete his solo and yield to Rosolino, who begins trading fours.

TheTrades

This tenth
chorus (in major) begins with Frank’s bluesy, swinging licks (mm. 109-112);
but he challenges with a burst of energy (mm. 117-118) that invites Carl to
respond with his trademark arpeggio (mm. 121-122), followed by an extra four
bars that crowds far into Frank’s turn to play (mm. 125-128). Rosolino
decides to get a word in edgewise, issuing a meek, almost whimpering sound
(mm. 128-129) quoting Carl’s previous line that elicits some attendees’
laughter before settling back into the groove (mm. 130-132).

Fontana
takes Rosolino’s pitches and toys with them further to open the twelfth
chorus (m. 133), this one in major. He closes his phrase with the syncopated-sixteenth
figure (mm. 135-136), which Frank in turn picks up and stretches into a remarkable
display of rhythmic fluidity (mm. 137-141). Fontana returns to the figure
to close the chorus (mm. 141-144).

In the thirteenth
chorus (in minor), both players relax slightly off the pervious pace (mm.
145-146) at first; but Rosolino finishes with flair heading into the final
tag (mm. 157-166) that segues back to the ensemble.

ALandmarkRecording

These solos
were transcribed from the original LP in real time using a basic cassette
player—actually two, as the initial device broke under the pressure
of the transcription challenge. The current CD release of 12 selections includes
two gems that were not on the LP: Stardust
(featuring Fontana) and LoverMan (Rosolino). Rosolino died not long after this recording;
Fontana passed much more recently. But CREAM OF THE CROP documents their superb,
fun, musical expression—and
their interplay on Rock Bottom in particular—forever.

Antonio J. García is a Professor of Music and Director of
Jazz Studies at Virginia Commonwealth University, where he directs the Jazz
Orchestra I; instructs Applied Jazz Trombone, Small Jazz Ensemble, Music
Industry, and various jazz courses; founded a B.A. Music Business Emphasis (for
which he initially served as Coordinator); and directs the Greater Richmond
High School Jazz Band. An alumnus of the Eastman School of Music and of Loyola
University of the South, he has received commissions for jazz, symphonic,
chamber, film, and solo works—instrumental and vocal—including
grants from Meet The Composer, The Commission Project, The Thelonious Monk
Institute, and regional arts councils. His music has aired internationally and
has been performed by such artists as Sheila Jordan, Arturo Sandoval, Jim Pugh,
Denis DiBlasio, James Moody, and Nick Brignola. Composition/arrangement honors
include IAJE (jazz band), ASCAP (orchestral), and Billboard Magazine (pop
songwriting). His works have been published by Kjos Music, Hal Leonard, Kendor
Music, Doug Beach Music, ejazzlines, Walrus, UNC Jazz Press, Three-Two Music
Publications, and his own garciamusic.com, with five recorded on CDs by Rob
Parton’s JazzTech Big Band (Sea Breeze and ROPA JAZZ). His scores for
independent films have screened across the U.S. and in Italy, Macedonia, Uganda, Australia, Colombia, India, Germany, Brazil, Hong Kong, Mexico, Israel, Taiwan, and the United Kingdom.

A Bach/Selmer trombone clinician, Mr. García serves as the
jazz clinician for The Conn-Selmer Institute. He has freelanced as trombonist,
bass trombonist, or pianist with over 70 nationally renowned artists, including
Ella Fitzgerald, George Shearing, Mel Tormé, Doc Severinsen, Louie Bellson, Dave
Brubeck, and Phil Collins—and has performed at the Montreux, Nice, North
Sea, Pori (Finland), New Orleans, and Chicago Jazz Festivals. He has produced
recordings or broadcasts of such artists as Wynton Marsalis, Jim Pugh, Dave
Taylor, Susannah McCorkle, Sir Roland Hanna, and the JazzTech Big Band and is
the bass trombonist on Phil Collins’ CD “A Hot Night
in Paris” (Atlantic) and DVD “Phil Collins:
Finally...The First Farewell Tour” (Warner Music). An avid scat-singer,
he has performed vocally with jazz bands, jazz choirs, and computer-generated
sounds. He is also a member of the National Academy of Recording Arts &
Sciences (NARAS). A New Orleans native, he also performed there with such local
artists as Pete Fountain, Ronnie Kole, Irma Thomas, and Al Hirt.

Mr. García is a Research Faculty member at The University of
KwaZulu-Natal (Durban, South Africa) and the Associate Jazz Editor of the International Trombone Association Journal.
He serves as a Network Expert (for Improvisation Materials) for the Jazz
Education Network and has served as President’s Advisory Council member and
Editorial Advisory Board member. His newest book, Jazz Improvisation: Practical Approaches to Grading (Meredith Music), explores avenues for creating structures that correspond to course objectives. His
book Cutting the Changes: Jazz
Improvisation via Key Centers (Kjos Music) offers musicians of all ages the
opportunity to improvise over standard tunes using just their major scales. He
is Co-Editor and Contributing Author of Teaching
Jazz: A Course of Study (published by NAfME) and authored a chapter within The Jazzer’s Cookbook (published by
Meredith Music). Within the International Association for Jazz Education he
served as Editor of the Jazz Education
Journal, President of IAJE-IL, International Co-Chair for Curriculum and
for Vocal/Instrumental Integration, and Chicago Host Coordinator for the 1997
Conference. He served on the Illinois Coalition for Music Education
coordinating committee, worked with the Illinois and Chicago Public Schools to
develop standards for multi-cultural music education, and received a curricular
grant from the Council for Basic Education. He has also served as Director of
IMEA’s All-State Jazz Choir and Combo and of similar ensembles outside of
Illinois. He is the recipient of the Illinois Music Educators Association’s
2001 Distinguished Service Award.

Regarding Jazz Improvisation: Practical Approaches to Grading, Darius Brubeck says, "How one grades turns out to be a contentious philosophical problem with a surprisingly wide spectrum of responses. García has produced a lucidly written, probing, analytical, and ultimately practical resource for professional jazz educators, replete with valuable ideas, advice, and copious references." Jamey Aebersold offers, "This book should be mandatory reading for all graduating music ed students." Janis Stockhouse states, "Groundbreaking. The comprehensive amount of material García has gathered from leaders in jazz education is impressive in itself. Plus, the veteran educator then presents his own synthesis of the material into a method of teaching and evaluating jazz improvisation that is fresh, practical, and inspiring!" And Dr. Ron McCurdy suggests, "This method will aid in the quality of teaching and learning of jazz improvisation worldwide."

About Cutting the Changes, saxophonist David Liebman states, “This book is
perfect for the beginning to intermediate improviser who may be daunted by the
multitude of chord changes found in most standard material. Here is a path
through the technical chord-change jungle.” Says vocalist Sunny Wilkinson,
“The concept is simple, the explanation detailed, the rewards immediate. It’s
very singer-friendly.” Adds jazz-education legend Jamey Aebersold, “Tony’s
wealth of jazz knowledge allows you to understand and apply his concepts
without having to know a lot of theory and harmony. Cutting the Changes allows music educators to
present jazz improvisation to many students who would normally be scared of
trying.”

Of his jazz curricular work, Standard of Excellence states: “Antonio García has developed a
series of Scope and Sequence of Instruction charts to provide a structure that
will ensure academic integrity in jazz education.” Wynton Marsalis emphasizes:
“Eight key categories meet the challenge of teaching what is historically an
oral and aural tradition. All are important ingredients in the recipe.” The Chicago Tribune has highlighted García’s
“splendid solos...virtuosity and musicianship...ingenious scoring...shrewd
arrangements...exotic orchestral colors, witty riffs, and gloriously
uninhibited splashes of dissonance...translucent textures and elegant voicing”
and cited him as “a nationally noted jazz artist/educator...one of the most
prominent young music educators in the country.” Down Beat has recognized his “knowing solo work on trombone” and
“first-class writing of special interest.” The
Jazz Report has written about the “talented trombonist,” and Cadence noted his “hauntingly lovely”
composing as well as CD production “recommended without any qualifications
whatsoever.” Phil Collins has said simply, “He can be in my band whenever he
wants.” García is also the subject of an extensive interview within Bonanza: Insights and Wisdom from
Professional Jazz Trombonists (Advance Music), profiled along with such
artists as Bill Watrous, Mike Davis, Bill Reichenbach, Wayne Andre, John
Fedchock, Conrad Herwig, Steve Turre, Jim Pugh, and Ed Neumeister.

The Secretary of the Board of The Midwest Clinic, Mr. García has
adjudicated festivals and presented clinics in Canada, Europe, Australia, The
Middle East, and South Africa, including creativity workshops for Motorola,
Inc.’s international management executives. The partnership he created between
VCU Jazz and the Centre for Jazz and Popular Music at the University of
KwaZulu-Natal merited the 2013 VCU Community Engagement Award for Research. He
has served as adjudicator for the International Trombone Association’s Frank
Rosolino, Carl Fontana, and Rath Jazz Trombone Scholarship competitions and the
Kai Winding Jazz Trombone Ensemble competition and has been asked to serve on
Arts Midwest’s “Midwest Jazz Masters” panel and the Virginia Commission for the
Arts “Artist Fellowship in Music Composition” panel. He has been repeatedly
published in Down Beat; JAZZed; Jazz
Improv; Music, Inc.; The
International Musician; The
Instrumentalist; and the journals of NAfME, IAJE, ITA, American
Orff-Schulwerk Association, Percussive Arts Society, Arts Midwest, Illinois
Music Educators Association, and Illinois Association of School Boards.
Previous to VCU, he served as Associate Professor and Coordinator of Combos at
Northwestern University, where he taught jazz and integrated arts, was Jazz
Coordinator for the National High School Music Institute, and for four years
directed the Vocal Jazz Ensemble. Formerly the Coordinator of Jazz Studies at
Northern Illinois University, he was selected by students and faculty there as
the recipient of a 1992 “Excellence in Undergraduate Teaching” award and
nominated as its candidate for 1992 CASE “U.S. Professor of the Year” (one of
434 nationwide). He was recipient of the VCU School of the Arts’ 2015 Faculty
Award of Excellence for his teaching, research, and service. Visit his web site
at <www.garciamusic.com>.